Classical Music in Film
A critical study to the extent classical music influences the
scores in cinema
24599892
Music and drama have shared a close relationship ever since the
days of the Greeks, so it seemed absolutely fitting that throughout
history as silent film was developed, music would be used as an
accompaniment to the action on screen.1 A live orchestra or
pianist, who would play along with the films, typically accompanied
silent films. They were considered absolutely essential to creating
the atmosphere and giving the audience vital emotional cues, as
they had nothing to go off other than the visuals, which wasnt able
to appeal to all the senses. Eisler assumes that films would have a
ghostly effect on its viewers, suggesting that until music is
introduced, characters are simply ghosts with an empty and boring
story line. 2
Initially, early cinema was accompanied by Western classical
music 3. Due to its intricate writing, classical music was able to
express a variety of emotions. Eventually, famous pieces were
dismembered and so over-used, they werent taken seriously as part
of the classical music culture. Mendelssohn and Wagners Wedding
marches were used for marriages, fights between partners and
separations, played in a different key to change their moods.
Chorales of Bach became an adagio lamenteso for sad scenes. Pieces
from Tchaikovskys Nutcracker was associated with Christmas.
Beethovens 5th Symphony, Tchaikovskys 1812 Overture, Wagners Ride
of the Valkyries, Carmina Burana by Orff and Strausss Also Sprach
Zarathustra became powerful, scary, rousing and climatic pieces.4
To this day, we still associate certain famous pieces with
emotions, for example, when you hear William Tell, one would
instantly think of galloping horses, and vice-versa. (Track 1) As
movies became more and more popular, the attraction to such famous
pieces grew. As these huge pieces became famous, they became light
classical 5 as even those with no classical music training would
enjoy such music, despite preferring the likes of popular music
consisting of a band with singers.1 Predergast, Roy M (1995).Film
Music - A Neglected Art. 1st ed. : Norton and Company 2Adorno,
Theodor W & Eisler, Hanns (1947).Composing for the Films. 1st
ed. New York: Oxford University Press.3For a musicologist, the word
Classical is defined more narrowly, referring to the period music
between the Baroque Period and the Romantic period during the late
eighteenth and early nineteenth centuries by composers such as
Beethoven, Haydn and Mozart. However, for the purpose of this
discussion, I will be using the term classical music to refer to
serious or highbrow music. This is also discussed further in the
Critical study Over tones and Undertones Royal S. Brown, (1994).
'Actions/Interactions: "Classical" Music'.In:Bernard Herrmann,
Mikls Rsza, Henry Mancini, Rick Altman (ed),Overtones and
Undertones: Reading Film Music. 1st ed. Berkeley: University of
California Press. pp.38-48.4Kickass Classical (2012).Top Classical
Music. [ONLINE] Available at:
http://www.kickassclassical.com/classical-music-popular-famous-best-top-100-list.html.
[Last Accessed 20/4/13].
Eventually, directors began to employ composers to begin
creating music specific to the film. Composers, to this day still
draw on ideas and concepts from existing composers and on
occasions, take pieces of existing famous pieces and appropriate
them to their own score. A famous example is John Williams Imperial
March from Star Wars, (track 2) which took phrases and ideas from
Chopins Marche Funrbre (track 3) and Mars, the Bringer of War
(track 4) part of Holsts Planets Symphony. The textures, tone
colours and style being identical between Holsts piece and Williams
(Figure 1), while he also uses similar rhythm and motions to
Chopins March (Figure 2). 5 6
Figure 1
Figure 2
Eventually, directors would seek specifically developed scores,
which would have an effective impact on their audience. They were
then able to define and set specific scenes, set characters and
describe the actions with use of classical music techniques.
However, there is an extremely fine line between what we would
consider classical music and popular culture music. The difference
can be simply seen in the complexities of the music through its
intricate structure through notes, instruments and ideas seen in
classical pieces, which are then also reflected within the complex
film score structures. 7 85Paulis, Irena, (2000). Williams verses
Wagner or an attempt at linking musical epics.International Review
of the Aesthetics and Sociology of Music. 1 (2), pp.316Lincoln,
Danae. A, (2011). The art and Craft of John Williams.An Abstract
Thesis Of. 1 (1), pp.517Aucouturier, Jean-Julien & Pachet,
Franois , (2003). Representing Musical Genre: A State of the
Art.Journal of Music Research. 32 (1), pp.108Pachet, Franois &
Cazaly, Daniel , (2000). A taxonomy of musical genres.Analysis of
music genre classifications. (1), pp.8
Due to the popularity of using classical music in films and the
extraordinary effect it was able to have on the viewers, composers
need to mimic the classical techniques of the famous composers to
suit the film, to set the scene and create the subliminal emotional
impact on the audience.9 Classical music can therefore be used to
underline or create psychological refinements in film composition.
Each movie consists of very particular characteristic, including
personalities, moods, genre and time period and needed music to
suit. As it has been for hundreds of years, classical music has
effectively provoked and described emotions, and has therefore,
been utilized to inspire many film scores. Anna Karenina 1997 Using
classical music The 1997 Anna Karenina film uses suitable Russian
pieces9 as the films soundtrack. The director Bernard Rose liaised
with famous conductor Sir George Solti10 to decide on using famous
classical pieces from Rachmaninoff, Prokofiev and most importantly,
the works of Tchaikovsky.11
Through the film, exact extracts are taken from Tchaikovskys 6th
Symphony, "Pathtique" and scattered through various scenes. This
Symphony was premiered a mere nine days before the death of the
composer, a reference which will foreshadow the downfall and death
of Anna Karenina herself. The Symphony goes through a series of
different moods, showcased in four movements, which was suggested
as an autobiographical program.12 The title was suggested by his
brother as it suggested impassioned suffering13 written in a
narrative of Tchaikovskys life expressing different moods. This is
a close parallel to the story of Anna Karenina, who will too
experience this suffering. 9Dorricott, Ian & Allan, Bernice,
(1998).Exploring Film Music. 1st ed. Austraia: McGraw-Hill Book
company Australia .10 Original Soundtrack Leo Tolstoys Anna
Karenina [CD] (1997) Featuring Sir George Solti. 27, 1996 - May 2,
1996. St Petersburg Philharmonic Orchestra + St Petersburg Chamber
Orchestra11 The Composers Rachmaninoff, Prokofiev and Tchaikovsky
are three famous Russian composers showcasing a very particular
style. It is important to note this, as Russian Leo Tolstoys
original novel is set in Russia. In portraying the novel in film,
its important that the Russian characteristics are kept. 12
Jackson, Timothy L. (1999).Tchaikovsky: Symphony No. 6 (Pathtique).
1st ed. United Kingdom: Cambridge University Press.13 May,
Thomas.Symphony No. 6, "Pathtique". [ONLINE] Available at:
http://www.laphil.com/philpedia/music/symphony-no-6-pathetique-peter-ilyich-tchaikovsky.
[Last Accessed 29th May 2013]
Track number three of the soundtrack Vronsky Follows Anna to St.
Petersburg uses a theme from the 1st movement, showcasing extreme
Romanticism. Tchaikovsky would have written this movement in
extreme passion and devotion, a happier beginning. This scene is an
important beginning to the relationship. Vronsky has followed Anna,
although it is forbidden for him to do so. A passage of extreme
emotion must be used to describe this. (Figure 3, approx. 4:30 in
track 5)
Figure 3
The phrase taken (Figure 3) is tremendously transcending and
gives an infinite feeling. The passage of the violins holding the
melody is extremely rich and full. This is primary due to the
perfect use tone colour, where the violins play an expressive
melody with the cellos plays the melody in a lower octave, creating
space which the violas fill by playing a counter melody.
Figure 4
Its important to note the style in which Tchaikovsky instructs
to play the phrase with intensity and passion, instructing to play
tenderly (teneramente), with emphasising a singing style (molto
cantabile) and expanding (con espansione) the phrases. All the
strings are muted (con sordini) so the sound appears to grow out of
the initial discord, as if appearing from nothing.14 The sound is
softer and more lyrical and flowing. (Figure 4 Continued from
Approx. 4:45 6:30)
The horns are extremely important, as they establish a major
tonality, making the passage sound positive and enlightening. They
play accompanying chords put most of the passages into relative key
D major instead of its usual relative B minor allowing a brilliant
sound for the violins which begin to start sounding triumphant
instead of upsetting.
The phrases played by the strings are very legato, which also
aids in keeping the smoothness of the contours each phrase is
consisted of, which steps consist of mainly a tone or small
arpeggios. Note that the phrases are important as they swell in
crescendo to a full sound in forte leading towards the top note and
decrescendo out of the phrase as the melody moves down. 14
Taruskin, Richard, (2994). Russian Musical Orientalism: A
Postscript.Cambridge Opera Journal. 6 (1), pp.3
This section (figure 5) is continuously used through the film in
such romantic moments. It describes both Anna and Vronsky as both a
couple and as individuals, portraying them both as Romantics and
explains their thirst for passion and emotion. The climaxing melody
then leads into a new section. Figure 5
The section picks up in tempo, and becomes more playful, where
the previous melody mas very intense. The flute taking the melody
introduces a new and exciting tone colour. (Approx. 6:30 Track 5)
Anna has met Keranin at the station, along with her lover, which is
slightly nervous but cheeky. Now the key has been moved completely
into D major.
To achieve the cheekiness, this phrase is used because the
flutes run up the scale in triplets, and then fall down, in long
notes played in tenuto. The flute 1 part and flute 2 part begin to
dove tail each other as both run up and crescendo and fall down and
decrescendo simultaneously. (Figure 5) Like the previous section,
phrases grow with excitement as they climax and is finished by a
huge jump of intervals from c to high f which slowly dies down as
notes descend.To describe the intense relationship between Anna and
Vronsky, a strong and penetrating section of music was needed to
portray the intense love affair. Due to the narrative
characteristics of the 6th Symphony, a section in the first
movement could be used due to its full and daunting sound. (Figure
6, Track 6)Figure 6
The relationship is very risky and towards the end of the film,
grows tension. The matching pieces of music is conveniently very
dramatic. The whole orchestra is employed to become part of the
section, making it sound quite chaotic. The section fast, in
allegro and starts off big playing is subito forte as an addition
to the syncopated and accented rhythm, shown above in the violin
part (however appears in all parts) are exciting, but terrifying at
the same time.
Figure 7
The rapidly ascending notes as demonstrated (figure 7 Track 6)
played by violins and violas over the tremolo of the cello and
double bass add to tension and give a foreboding sense, which is
important due to the films story line which ends in tragedy, like
the extreme climax of the section. Chromaticism climbing up the
scales begins to sound almost terrifying, and when its added to a
thicker texture with instruments in all registers, the music
becomes dissonant and not an easy listen. The flutes playing the
flourishes (Figure 8) over the melody have a strong minor grounding
which too, occasionally become dissonant. The climbing notes lead
up to quick semi quavers played in extremely high octaves, with the
horns playing a chordal melody, adding to even more dissonance.
However, the haunting and anxious section is extremely enjoyable to
listen to, due to its adrenaline, parallel to the enjoyment of the
forbidden relationship.
Figure 8
Arnold Shoenbern suggests that Tchaikovskys symphony starts with
a cry and ends with a moan 8 The last movement is an extremely sad
movement, showcasing emotive and very depressing music. Annas
Tragic End comes from the final movement, as appropriately, her
sadness is too much and takes her own life, after desperately
crying for help. (Figure 9 + Figure 10 Approx. 3:20 Track 7)
Figure 9
Figure 10
The section is written for the Clarinets to play with expression
(con espressione) and violins to play with gentleness and devotion
(con lenezza e devozione). There is no vibrance, and tones become
very mellow and the long crotchet notes as shown below (Figure 11)
have the ability to echo due to the slow characteristic of the
section. Its both easy and difficult to listen to, easy because the
notes are smooth and long, but difficult, because the minor key
contributes to it sounding like a painful cry.
Figure 11
The dance scene is an extremely important part of the film,
where the vibrancy of the score initiates a passionate waltz and
describes the events of Anna initially rejecting Vronsky, Kittys
jealousy of Anna and a turbulent dance between Anna and Vronsky.
Tchaikovskys Ballet Swan Lake ends in tragedy just as the novel
does, but begins passionately and joyfully. The famous Waltz from
Swan Lake is written in typical Waltz style, and initiates a
fervent encounter between Vronsky and Anna. The time signature is
an instant, and discrete alert to the audience that this is a waltz
scene. The Horns and Bass strings keep the oom pah pah Dance
feeling. (Figure 12 Track 8)15
15 Te, Adoramus, et al. "Index of Choruses Suggested."What We
Hear in Music: A Laboratory Course of Study in Music History and
Appreciation, for Four Years of High School, Academy, College,
Music Club Or Home Study...(1913): 392.
Figure 12
On the music, the cello and bass (bottom two staves) play the
oom while horns at the top stave play the pah pah They allow the
violins to play a rich melody over the instruments keeping the
dance pulse.
The Waltz begins with a light, and feminine texture, with the
violin playing a melody which is consists of smooth contoured
phrases. The rhythm is kept constant, the dotted crotchet leading
onto a semi quaver leads beautifully onto the minim and crotchet on
the violins first played on the d string, then on the a string
moving the piece in an upwards motion. It swirls around as the
dancers swirl around. Over the top, the flutes and clarinets add
pretty embellishments to the melody in a higher range. Below
demonstrates how the Flutes play three notes and are completed by
the clarinets over the melody played by violin and doubled by the
bass. (Figure 13)Figure 13
The waltz then moves into a thrilling climax (Figure 14) and
gets enormously exciting with a change to the melody moving to the
higher register on the violin, which continues to play the melody
due to its vibrant sound and perfectly matches the pivotal scene.
The accented dotted crotchets and quavers are played in quick
succession becoming lively and bouncy which accompany the dancers
moving around. The passage is repeated twice, the second time being
even more exciting with greater dynamic changes. The Melody moves
upwards to climax the section. (Figure 15 Approx. 0:45)
Figure 14
Figure 15
This excerpt is the perfect accompaniment to Anna and Vronskys
passionate encounter. The slower moving sections, we watch Kitty
ducking through the crowds, in jealousy of Anna and Vronskys
passionate dance whom at this point, are beginning to connect on
another level.
Anna Karenina 2012 Adapting existing classical music
The Anna Karenina 2012 Film brings music from Dario Marianelli,
by now an expert in writing music for period films. Instead of the
1997 Film version, Marianelli composes an original score for the
film, taking ideas and concepts from Tchaikovskys music to create
authentic music to set the scene and describe the mood. In doing
so, he writes in a classical style, drawing on classical elements
of music. Director Joe Write decided to set the film in a
theatrical setting giving it a ballet type vibe Due to the nature
of the film, Marianelli needed to compose many of the pieces prior
to filming, as it was such a core part of the choreography and
screenplay. 16
Kittys Debut and Dance with me are used in the Ballroom scene,
where in the 1997 film, Tchaikovskys waltz from Swan Lake is used.
Both show a resemblance to Tchaikovskys piece and sound very
similar, why? Notice in the excerpts bellow (Figure 16 Track 9) the
patterns of the notes both rhythmically and note wise in Kittys
Debut
Figure 16
The use of a dotted crotchet leads and falls onto the
semiquaver. Each phrase is grouped in a slur and follows a smooth,
contour which is extremely legato. The melody is played by the
violins, the wood wind players and bass strings keep the waltz
pulse in the same way the Waltz from Swan Lake does by alternating
the oom- pah pah crotchets. (Figure 16) Also look at the melody
from Tchaikovskys waltz. (Figure 17 Track 8)
Figure 17
16 Marianelli in his interviews speaks about how important his
score was in setting up much of the film. He needed to work closely
with the choreographer and with the director to produce the score
before filming and continued to change it during the filming
process. His score therefore became extremely important in setting
up most of the action and in many cases, contributed to the
emotional setting of the film. See further in his two interviews on
the score. Scritto da Maurizio Caschetto (13th March 2012).Explorer
of notes: Dario Marianelli and "Anna Karenina". [ONLINE] Available
at:
http://www.colonnesonore.net/contenuti-speciali/interviste/2554-explorer-of-notes-dario-marianelli-and-qanna-kareninaq.html.
[Last Accessed 8 June 2013].
When Anna accepts Vronskys invitation to dance, the melody makes
a striking return, now clarifying the association between the music
and Annas love. In a true Tchaikovsky fashion, the instrument
holding the melody is swapped around. To begin, the clarinet opens
the waltz starting on B flat (Figure 18 Track 10) until the flutes
join in playing a high harmony starting on G, (Figure 19) this is
reflective of Tchaikovskys beginning theme which the violins move
up an octave (Figure 20). Then the background lighting darkens and
a spotlight shines on Anna and Vronsky to emphasize their new-found
love, the scoring of the theme thins out (Approx. 1:10 Track 10)
and we hear a solo violin play the melody (Aprox 2:00 Track 10) a
traditional symbol of romantic yearning in film scores.18 Because
of the pivotal role this dance plays in Annas Wife, her love theme
generally retains its waltz-like three-beat measures throughout the
film. It is also always heard in a minor key to denote the tragic
part Annas love plays in her life. These are important as in both
circumstances, it keeps the piece moving upwards and towards a
climax in the dance.
Figure 18
Figure 19
Figure 20
18Richards, Mark (2013).Oscar Nominees 2013: Dario Marianellis
Score for Anna Karenina. [ONLINE] Available at:
http://www.filmmusicnotes.com/oscar-nominees-2013-dario-marianellis-score-for-anna-karenina/.
[Last Accessed 30th May 2013].
The below excerpt show a rich and full textured melody where the
violins play in sul g with flutes playing light flourishes over the
top. (Figure 21 Approx. 0:30 Track 10) The excerpt following that
shows Tchaikovskys melody which is used towards the end, too played
by violins on sul g, a classical technique requiring violins to
play all the following notes on the G-string. (Figure 22 Approx
5:00 Track 8). Its very powerful, filling and extremely resonant.
Figure 21
Figure 22
Both composers continue to rely on the leaning notes which as
previously used, uses the syncopation method of dotted crotchets,
quavers and this time dotted minims, which lengthen phrases even
more. (Figure 21 + Figure 22)
The last part of Marianellis piece is extremely climatic and
chaotic, could this be a reflection of the classical piece Anna and
Vronsky in the 1997 film? This extract is extremely dissonant
and as already mentioned, it is terrifying yet exciting. Like
the part from the 6th Symphonys 1st Movement, (Figure 6 + Figure 7
+ Figure 8 -Track 6) and from Tchaikovskys Waltz (Approx 2:15 Track
8)19 this section is extremely polyphonic and contrapuntal, moving
in a contrary motion with the normal flowing melodic motif played
on the smooth woodwind players, now being surrounded by dissonant
chords played in higher octaves by violins. (Figure 23 Approx 2:45
Track 10) They too, grow in a chromatic scale in forte and
constantly crescendoing, according to Deryk Cooke20 creates extreme
tension, which describes the intense relationship. It describes a
forbidden, yet thrilling relationship, exciting to listen to.
Figure 23
Most importantly, Marianelli needed to open the film with
something extremely Russian. He takes the exact melody from
Tchaikovskys last movement in his 4th Symphony and uses the flute
to add running flourishes in different rhythmic patterns. Note the
melody in first Tchaikovskys symphony, (Figure 24 Start and Approx.
1:35 Track 12) then in Marianellis Overture (Figure 25 Track 11)
19Rosenbloom, Etan (2012).Dario Marianelli on Anna Karenina.
[ONLINE] Available at:
http://www.ascap.com/playback/2012/11/wecreatemusic/fmf-dario-marianelli-on-anna-karenina.aspx.
[Last Accessed 18 July 2013].20 this original study argues that the
main characteristic of music is that it expresses and evokes
emotion, and that all composers whose music has a tonal basis have
used the same, or closely similar, melodic phrases, harmonies, and
rhythms to affect the listener in the same ways. He supports this
view with hundreds of musical examples, ranging from plainsong to
Stravinsky, and contends that music is a language in the specific
sense that we can identify idioms and draw up a list of meanings.
Deryck Cooke, (1959).The Language of Music. 1st ed. Oxford
University Press: .
Figure 24
Figure 25
Also note the flourishes in Vronsky follows Anna to Petersburg
(figure 26) which are used in a similar way to Marianelli in
Overture (figure 24) Which in a similar fashion, rise and fall in
quick and smooth successions using semi quavers and triplets. This
helps in setting the Russian context. It is clear how complex this
music is, reflecting the great sophisticated works of classical
composers.
Figure 26
To achieve the intensity, its obvious how important the
classical techniques are to achieve an atmosphere and describe the
character and pivotal moments in the film.
Lord of the Rings Writing in a Classical styleIn the Lord of The
Rings score composed by Howard Shore, even the untrained music
listener cannot fail to be over whelmed by the powerful music. The
film offers over 200 musical cues (per film), which all have very
small gaps between each piece.21 Just looking at the Lord of The
Rings, ones overall impression is very much that of an ongoing
opera overture, that has a similar uninterrupted flow of Wagners
operas. Moreover, the scores musical structure depends on the
dramatic structure, with one of the fundamental elements of this
musical structure being the leitmotif. A leitmotif is a musical
motif, often a brief excerpt that over the course of a music drama,
comes to be associated with a character, a place, a situation, or a
thing. The motif then undergoes variations and modifications
determined by the dramatic settings in which it appears. 22
Oddly enough, Tolkiens Trilogy follows quite closely to the
Wagners Ring Cycle opera Der Ring des Nibelungen. Howard Shore
therefore pulls onto ideas from the classical work to describe a
similar conflict, similar characters, and a similar setting.23
There are often certain pieces of Wagners opera which sound similar
to certain themes in Shores score. Shore considered his score to be
a single, coherent, dramatic work an opera By looking at certain
leitmotifs from some selected pieces from the films soundtrack and
by looking at the leitmotifs and pieces from Wagners Ring Cycle, we
can see far classical music has influenced one of the most
effective and popular scores of all time.
The Ring Leitmotif (Figure 27 Track 13) if first used in an
explanation to the history of the ring. The historical account ends
with the rings unexpected possession by a Hobbit and uncertainty
about what will happen next. This suspense is represented musically
as the Prologue ends with a sustained E-flat minor chord which
progresses to E Flat Major in the next section. 21 The running time
for the theatrical releases of each of the first two films is about
178 minutes with 150 minutes of music in the first film and 160
minutes in the second, which equates to over eighty percent of each
film. Shore has composed well over 10 hours of music, which in
extended DVD versions, totals over 11 hours of music. 22 Royal S.
Brown, (1994). 'Style and Interactions'.In:Bernard Herrmann, Mikls
Rsza, Henry Mancini, Rick Altman (ed),Overtones and Undertones:
Reading Film Music. 1st ed. : University of California Press.
pp.5-96.23 Bernank, Judith, (2005). Howard Shore's Ring Cycle.The
film Score and operatic strategy. 1 (1), pp.9
Figure 27
In Wagners Ring Leitmotif (figure 28) wed find the E minor key,
where the middle voice outlines a minor scale first going down then
back up. If we look at Deryck Cookes famous criticisms10 wed agree
that it suggests an ongoing feeling of pain and suspense.
Figure 28
Repetition and variation of melodic material help a leitmotivic
score achieve coherency. Recurring leitmotifs are especially
valuable in epic works which compromise numerous character and
narrative elements such as in Wagners work, which is then
reflective in Shores. He uses this technique most clearly in his
varied treatment of the Fellowship leitmotif, (figure 28, Track 14)
which appears frequently throughout all here films and serves
structurally to identify connections between characters and to
signify travel and action. Always played in a major tonality, it is
a motivational leitmotif and signifies the movement of the
fellowship. After its initial statement in the formation of the
fellowship where its played by horns and strings dove tailing
through the melody, played in legato and at a relatively slow tempo
in a soothing and relaxing way. In a march, as the fellowship leave
on their journey, only the brass players play the melody,
accompanied by a strong timpani roll which makes the motif sound
triumphant. During a horse ride, the bass brass players play the
melody, accompanied by fast moving timpani, tremolo on strings and
the clashing cymbols, becoming urgent and threatening. Using
written and well explained expressive techniques such as legato,
expressiano, lamentoso, classical music relys on these huge variety
of marked stylistic sugestions to create a full work of art, able
to develop an intense piece of work to accompany intense works of
film.
Figure 28
Howard Shores uses a classical orchestra of epic proportions
including a large choir to add to the variety of tone colours.
Although, pushing boundaries, his orchestra is reflective of
Wagners massive orchestra, which has also pushed orchestral
boundaries, consisting of over 100 instruments. 24 25 26-
Woodwinds: 3 flautists doubling on alto flutes, piccolo, irish
whistles and flutes 3 oboes (Doubling on English horn) 3 Clarinets
(Doubling on Bass Clarinet) 3 Bassoons (Doubling on Bass Bassoon)-
Brass: 5 Horns in F 4 Trumpets in B-Flat (piston and rotary valve)
3 Trombones 3 Tubas- Percussion 3 Timpanis Chimes Tamtams (Medium
and Large) 5 Suspended gongs Cymbals Snare Drum 2 Bodhrns 3 Taiko
drums Marimba Piano (Double on celesta)- Strings 3 harps 16 Violins
I 16 Violins II 12 Violas 10 Cellos 8 Double Basses- Choir- Ethnic
and exotic instruments: fiddle, double fiddle, anvil, accordion,
celtic harp, mandolin,
- Woodwinds: 3 flutes 2 Piccolos 3 oboes English Horn 3
Clarinets 2 Bass Clarinets 3 Bassoons- Brass: 8 Horns in F 3
Trumpets in B-Flat 4 Trombones 4 Tubas- Percussion 2 Timpanis
Tamtams (Medium and Large) Cymbals Glockenspiel Snare Drum
Triangle- Strings 6 harps 16 Violins I 16 Violins II 12 Violas 10
Cellos 8 Double Basses- Choir
Shore composes for a variety of instruments, giving melodies to
a variety of instruments, which often all play simultaneously.
Instead of writing melodies typically played primarily by the
string section, importance of brass players is highlighted, playing
more of the core song, rather than just accompaniment to other solo
instruments. Wagners love for writing complex brass parts (figure
29) is also shown in Shores score. Unlike popular culture music,
composers must use overwhelmingly coloristic tone colours to create
an atmosphere of time and place. However, both the Composers stay
within the classical music elements by writing music for classical
instruments and using the instruments in conventional ways. To
achieve the full effect of setting the scene, Shore also uses
classical ethnic exotic instruments to set the fantasy scene,
inspired by Irish and Scottish folk music tone colours.
Automatically, one can listen to the wood whistle in the hobbits
theme and instantly associate it with a folk story. (Track15)
Figure 29
24Der Ring des Nibelungen (Fledermaus1990) (2011), Der Ring des
Nibelungen video, YouTube, 15 February viewed 11 January 2010
http://www.youtube.com/watch?v=-HujjNQPv2U25 Lord of the Rings
Symphony Full Length (Gilthoniel1337) 2011 Lord of the Rings Video
10th May 2013
http://www.youtube.com/watch?v=ybZINoDv8I826(2013).Das Rheingold,
WWV 86A (Wagner, Richard). [ONLINE] Available at:
http://imslp.org/wiki/Das_Rheingold,_WWV_86A_(Wagner,_Richard).
[Last Accessed 31 August 2013].
The use of the choir is too, reflective of Wagners opera as well
as all of the large famous choral works. The choir does not sing in
English, and for majority of the score, sing only open notes of
simple vowels. Like a classical work, the mood relies heavily on
the notes which are sung and the way in which they are sung, like
any other instrument in the orchestra.
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Although there is not a definite clear line between classical
music and popular music, its extremely clear the complexities of
classical music and how the relationship between the notes,
structure, techniques, rhythm, textures and tone colours work
together and intertwine to create articulate works of art, valued
by those musically educated enough to understand and analyse the
relationship and its effects. These complexities have been very
important in developing classical music, and according to the film
industry, has been a fundamental aspect in the success of
cinema.
Without the complex characteristics of classical music, the
phsycological response from viewers would be absolutely minimal.
Composers have had to adapt the concepts of classical music to
ensure that their complex scores, will influence the arousal of
complex emotions from the audience. In doing so, directors and
composers have drawn on classical music on many different degrees
to achieve their desired affect of their music, setting a scene,
setting a tone a character and a concept. Ultimately, classical
music is the strongest way to portray such emotions and thus,
composers rely on the concepts of classical music to create a score
with the ability to create a relationship on a stronger level with
the viewer. [Type text][Type text][Type text]
